Swiss-German-British postcard by News Productions, Baulmes / Filmwelt Berlin, Bakede / News Productions, Stroud, no. 56570 Photo: Larry Shaw. Caption: Woody Allen at the Crazy Horse, Paris, 1965.

American actor-writer-director Woody Allen (1935) is best known for his romantic comedies Annie Hall (1977) and Manhattan (1979). In his films, he frequently plays a neurotic New Yorker and often bases them on his own life experiences. He had 16 Oscar nominations for writing, more than anyone else.

Woody Allen was born in 1935, as Allan Stewart Konigsberg in Brooklyn, NY. He was the son of Martin Konigsberg and Nettie Konigsberg and has one younger sister, Letty Aronson. As a young boy, he became intrigued with magic tricks and playing the clarinet, two hobbies that he continues today. Allen broke into show business at 15 years when he started writing jokes for a local paper, receiving $200 a week. At 17, he changed his name to Heywood Allen. He moved on to write jokes for talk shows but felt that his jokes were being wasted. His agents, Charles Joffe and Jack Rollins, convinced him to start doing stand-up and telling his own jokes. Reluctantly he agreed and, although he initially performed with such fear of the audience that he would cover his ears when they applauded his jokes, he eventually became very successful at stand-up. After performing on stage for a few years, he was approached to write a script for Warren Beatty to star in: What's New Pussycat (1965). He would also have a moderate role as a character in the film. During production, Woody gave himself more and better lines and left Beatty with less compelling dialogue. Beatty inevitably quit the project and was replaced by Peter Sellers, who demanded all the best lines and more screen-time. It was from this experience that Woody realized that he could not work on a film without complete control over its production. Woody's theoretical directorial debut was in What's Up, Tiger Lily? (1966); a Japanese spy flick that he dubbed over with his own comedic dialogue about spies searching for the secret recipe for egg salad. His real directorial debut came the next year in the mockumentary Take the Money and Run (1969). He has written, directed and, more often than not, starred in about a film a year ever since, while simultaneously writing more than a dozen plays and several books of comedy.

Woody Allen has made many transitions in his films throughout the years, transitioning from his "early, funny ones" of Bananas (1971), Love and Death (1975) and Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972); to his more storied and romantic comedies of Annie Hall (1977), Manhattan (1979) and Hannah and Her Sisters (1986); to the Bergmanesque films of Stardust Memories (1980) and Interiors (1978). Later he made the more varied works of Crimes and Misdemeanors (1989), Husbands and Wives (1992), Mighty Aphrodite (1995), Celebrity (1998), and Deconstructing Harry (1997). In the new century, he made films that vary from the light comedy of Scoop (2006), to the self-destructive darkness of Match Point (2005) and to the cinematically beautiful tale of Vicky Cristina Barcelona (2008). Although his stories and style have changed over the years, he is regarded as one of the best filmmakers of our time because of his views on art and his mastery of filmmaking.

Sources: David McCollum and Michael Castrignano (IMDb).

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Swiss-German postcard by News Productions / artconcept, no. 0103-6100284. Photo: Larry Shaw. Woody Allen and Romy Schneider in What's New Pussycat (Clive Donner, 1965).

American actor-writer-director Woody Allen (1935) is best known for his romantic comedies Annie Hall (1977) and Manhattan (1979). In his films, he frequently plays a neurotic New Yorker and often bases them on his own life experiences. He had 16 Oscar nominations for writing, more than anyone else.

Romy Schneider (1938-1982) was one of the most beautiful and intelligent actors of her generation. More than 30 years after her death she still has an immense popular appeal.

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Swiss-British postcard by News Productions, Baulmes / Stroud, no. 56737, 1996. Photo: Larry Shaw. Caption: Carroll Baker, New York City, 1960.

American film, stage and television actress Carroll Baker (1931) enjoyed popularity as both a serious dramatic actress and as a sex symbol. Cast in a wide range of roles during her heyday in the 1960s, Baker was especially memorable playing brash, flamboyant women, due to her beautiful features, striking blonde hair, and distinctive Southern drawl. In the late 1960s, she moved to Italy, where she starred in numerous Giallo thrillers and horror films.

Carroll Baker was born Karolina Piekarski in Johnstown, Pennsylvania, in 1931. Her parents were Virginia (née Duffy) and Polish-born William Watson Baker (Piekarski), who was a travelling salesman. After spending a year in college, she began working as the assistant of magician the Great Volta and joined a dance company. Baker moved to New York City. In 1953, she married furrier Louie Ritter, but the marriage ended the same year. She studied acting under Lee Strasberg, eventually becoming part of the famed Actors Studio, where she was an acquaintance of Marilyn Monroe and became a close friend of James Dean. Baker began her film career with a small part in Easy to Love (Charles Walters, 1953). After appearing in television commercials, she took a role in the Broadway production of All Summer Long. Then director Elia Kazan cast her as the title character in his controversial Baby Doll (1956), based on a script by Tennessee Williams. Her role as the thumb-sucking teenage bride to a failed middle-aged cotton gin owner (Karl Malden) brought Baker instant fame as well as a certain level of notoriety. It earned her an Oscar nomination and a Golden Globe. She also appeared in Giant (George Stevens, 1956) alongside Elizabeth Taylor, Rock Hudson, and James Dean.

Carroll Baker would go on to work steadily in films throughout the late fifties and early sixties. She appeared in a variety of genres: romances, such as The Miracle (Irving Rapper, 1959), co-starring a young Roger Moore, and But Not for Me (Walter Lang, 1959) with Clark Gable, as well as Westerns, including The Big Country (William Wyler, 1958) and a lead role in the epic How the West Was Won (Henry Hathaway, John Ford, George Marshall, 1962); and steamy melodramas, including the controversial independent film Something Wild (1961), directed by her then-husband Jack Garfein, in which she plays a rape victim; and Station Six-Sahara (Seth Holt, 1962). Baker was also chosen by MGM for the lead in Cat on a Hot Tin Roof, but her contract with Warner Brothers prevented her from accepting the role, which ultimately went to Elizabeth Taylor. Baker's portrayal of a Jean Harlow-type movie star in The Carpetbaggers (Edward Dmytryk, 1964) brought her a second wave of notoriety. The film was the top money-maker of that year, with domestic box-office receipts of $13,000,000 and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine. Based on her Carpetbaggers performance, Levine began to develop Baker as a sex symbol, casting her in the title roles of Sylvia (Gordon Douglas, 1965) and Harlow (Joseph E. Levine, 1965). Despite much pre-publicity, the latter film was not a success, and relations between Baker and Levine soured.

In the late 1960s, Carroll Baker moved to Italy after a protracted legal battle with Paramount Pictures, as well as a divorce from her second husband, Jack Garfein. The next decade, she starred in a multitude of Italian films. These included several horror films and Giallo thrillers such as L’Harem/Her Harem (Marco Ferreri, 1967) with Renato Salvatori, Il dolce corpo di Deborah/The Sweet Body of Deborah (Romolo Guerrieri, 1968) opposite Jean Sorel, and Il diavolo a sette face/The Devil Has Seven Faces (Osvaldo Civirani, 1971). She became a favourite of cult director Umberto Lenzi who directed her in the horror films Così dolce... così perversa/So Sweet... So Perverse (1969) with Jean-Louis Trintignant, Orgasmo/Paranoia (1969) with Lou Castel, Paranoia/A Quiet Place to Kill (1970), and Il coltello di ghiaccio/Knife of Ice (1972). She followed her roles in Lenzi's films with a leading role in Baba Yaga/Black Magic (Corrado Farina, 1973) as the titular witch, alongside George Eastman. In those years, film locations would take her all around the world, including Spain, Germany, the United Kingdom, and Mexico.

Carroll Baker returned to American cinema with a leading part as a beauty salon owner who provides hit men with jobs in Andy Warhol's Bad (Jed Johnson, 1977). She played a washed-up actress living among expatriates in a Spanish village in Las flores del vicio/The Sky Is Falling (Silvio Narizzano, 1979) with Dennis Hopper. She appeared in British theatre productions of Bell, Book, and Candle; Rain, Lucy Crown, and Motive. There she met her third husband, stage actor Donald Burton. Baker starred in the Walt Disney-produced horror film, The Watcher in the Woods (John Hough, 1980), alongside Bette Davis and played the mother of Dorothy Stratten in Star 80 (Bob Fosse, 1983). She also played Jack Nicholson's wife in Ironweed (Héctor Babenco, 1987). She later had supporting roles in Kindergarten Cop (Ivan Reitman, 1990) and the acclaimed thriller The Game (David Fincher, 1997), before retiring in 2002. During a career spanning 50 years, Carroll Baker appeared in over 80 roles in film, television, and theatre. In 1983, she published a well-received autobiography entitled Baby Doll: An Autobiography, and later wrote two other books, To Africa with Love, and a novel entitled A Roman Tale. Baker has two children with Jack Garfein, Blanche Baker (1956) and Herschel Garfein (1958).

Sources: AllMovie, Glamour Girls of the Silver Screen, Wikipedia and IMDb.

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Swiss-British postcard by News Productions, Baulmes and Stroud, no. 56760, 1996. Photo: Larry Shaw. Elia Kazan on the set of Splendor in the Grass (1960) in NYC, 1960.

American film and stage director Elia Kazan (1909-2003) made his name with two plays by writer Tennessee Williams, 'The Glass Menagerie' and 'A Streetcar Named Desire' and two by Arthur Miller 'All My Sons' and 'Death of a Salesman'. His provocative films were concerned with personal or social issues such as anti-Semitism and racism. Noted for drawing out the best dramatic performances from his actors, he directed 21 actors to Oscar nominations, resulting in nine wins. For his films, he was himself nominated five times for an Academy Award as best director. He won two Oscars for Gentleman's Agreement (1947) and On the Waterfront (1954). A turning point in his life came in 1952 when Kazan appeared as a witness before Senator Joseph McCarthy's committee and named people with alleged Communist sympathies. His testimony helped end the careers of several former colleagues who were blacklisted. When Kazan was awarded an honorary Oscar in 1999, his anti-Communist testimony continued to cause controversy.

Elia Kazan was born as Elias Kazancıoğlu (Greek: Ηλίας Καζαντζόγλου) in 1909 in Constantinople, Ottoman Empire (now Istanbul, Turkey). Kazan moved to New York when he was four years old. He graduated from Yale College in 1932 with the desire to become a film director. In the same year he married Molly Day Thatcher. The couple had four children. In the 1930s there were still no training opportunities for film directors and so he first joined the Group Theatre as an actor. The participants in the politically left-wing independent theatre group lived together in the summer months like in a commune and worked on their socially critical productions. Between 1934 and 1936, Kazan's work with the Group Theatre led to his membership in the Communist Party. He broke with the party in 1936 after 19 months of membership because it interfered too much in the Group Theatre's theatre work. In the same year he played a supporting role in Kurt Weill's first all-American production, 'Johnny Johnson'. In 1937 Kazan went to Hollywood for screen tests with some of the Group Theatre actors. He played his first Hollywood role in City for Conquest (Anatole Litvak, 1940) alongside James Cagney. Kazan went on to get smaller film roles. Members of the group, Franchot Tone and John Garfield, went on to become film stars. Kazan, however, went back to New York and had his first great success as a director on Broadway in 1942. Then his long-cherished dream came true and he made his first film, A Tree Grows in Brooklyn (Elia Kazan, 1943). Kazan's film Gentleman's Agreement (Elia Kazan, 1947) was produced by Darryl F. Zanuck. It was the first Hollywood film to deal with the subject of anti-Semitism. Kazan did not like the film very much. He said it was too polite and did not show how bad anti-Semitism was. Zanuck demanded that the audience be introduced to the subject through a love story between Dorothy McGuire and Gregory Peck. Although Kazan felt that this detracted from the realism of the story, Zanuck succeeded with this method. The film won the Academy Award for Best Picture of the year and Kazan received his first directing Oscar.

In 1947 Elia Kazan co-founded the Actors Studio alongside Cheryl Crawford and Robert Lewis, which produced actors such as Marlon Brando, James Dean and Julie Harris, all of whom also starred in Kazan's later films. Kazan repeatedly cast actors from this school, which had been led by Lee Strasberg as an authoritative acting teacher since 1951, in his films. Kazan was drawn back to the theatre. He directed the Arthur Miller successes 'All My Sons' and 'Death of a Salesman' between 1947 and 1949. Lee J. Cobb played Willy Loman and the production made Kazan one of the most important theatre directors of the time. With the drama student Marlon Brando, he staged Tennessee Williams' 'A Streetcar Named Desire' on Broadway in 1947. The play actually centred on the story of the two sisters Blanche and Stella, but Brando changed the perception of the play with his brilliant portrayal of Stanley Kowalski. On Broadway, Jessica Tandy played Blanche. However, the producers at Warner Brothers swapped her for Vivien Leigh, who was rated higher as a star, in the later 1951 film version. Vivien Leigh received her second acting Oscar for this work. Kim Hunter and Karl Malden, like Brando, were already part of the cast of the successful Broadway production. In addition to his theatre work, Kazan made the Western The Sea of Grass (Elia Kazan, 1947) with Spencer Tracy and Katharine Hepburn. He continued to pursue his actual idea of realistic filmmaking with the Film Noir Boomerang (Elia Kazan, 1946) starring Dana Andrews, Jane Wyatt and Lee J. Cobb. For this film he went with the crew to the small town of Stamford (Connecticut) and filmed in the streets and buildings of the town. At times the production had thousands of spectators, as people were not yet used to film productions in real locations. Boomerang is about a man suspected of murdering a priest and is based on a true story about Homer S. Cummings, who later became US Attorney General. Elia Kazan felt a great closeness to the people of the southern states of the United States. In 1937, he had already gained his first experience here with the short documentary film The People of Cumberland, which captured the poverty of the people during the Great Depression in frightening images. In 1949 he made his first feature film about the South. Pinky (Elia Kazan, 1949) with Jeanne Crain, Ethel Barrymore and Ethel Waters, is one of Kazan's lesser-known works. Kazan developed this way of making films further when he went to New Orleans to shoot the thriller Under Secret Order (Elia Kazan, 1950) with Richard Widmark, Barbara Bel Geddes and Jack Palance in original locations.

His film version of A Streetcar Named Desire (Elia Kazan, 1951) won a total of four Academy Awards, including three acting awards for Vivien Leigh, Kim Hunter and Karl Malden. After this huge success, Kazan went to Mexico to tell the story of the revolutionary Emiliano Zapata in Viva Zapata! (Elia Kazan, 1952) with Marlon Brando. John Steinbeck had written the script about the rise of a peasant who rebels politically against conditions in his country to become a successful revolutionary. In line with the anti-communist zeitgeist of the 1950s, Kazan twisted the historical background into an anti-Soviet and anti-revolutionary propaganda parable. It came to American cinemas at the height of Senator Joseph McCarthy's "witch hunt" and played into the hands of his anti-communist smear campaign. Kazan himself was a member of the Communist Party in the 1930s, at the beginning of his work with the Group Theatre, but left when the party interfered in the group's theatre work. As a staunch liberal, Kazan felt betrayed by the military atrocities committed by Stalin and the ideological rigidity of the Stalinist regime. Kazan found it necessary to collaborate with McCarthy's anti-communist activities and testified before the so-called "Committee on Un-American Activities". He told the committee of his disgust with alleged "red methods" and readily denounced colleagues who had been party members in the 1930s until the Hitler-Stalin pact. Kazan's former Group Theatre colleagues, such as John Garfield and director Jules Dassin, were blacklisted and banned from the profession after Kazan's statements. American playwrights Lillian Hellman and Arthur Miller publicly disagreed with Kazan's reasoning. Kazan's subsequent work was inluenced by his experiences during the McCarthy era. A Man on a Tightrope (Elia Kazan, 1953) showed the lives of people in Czechoslovakia under the pressure of Soviet totalitarianism. Fredric March and Gloria Grahame played the leading roles. Kazan's critics accused him, after On the Waterfront (Elia Kazan, 1954), about a heroic snitch, is generally considered Kazan's answer to his critics. The film deals with corruption and betrayal among New York trade unionists and ends with the hero of the film being forgiven for his betrayal. Kazan came closest to his ideal of realism with this film. On the Waterfront was shot in the harsh winter of 1954 on the streets of New York and in Hoboken, New Jersey. The cold played an important role and is palpable in every scene. The actors never seem artificial as a result. However, the focus was on the love story between Marlon Brando and Eva Marie Saint and not on the social drama. Elia Kazan received his second directing Oscar for this work. Arthur Miller's play 'The Crucible', about a Puritan who would rather die than make false accusations against a witchcraft suspect, was a response. Kazan later described his situation before the McArthy Committee as a "choice between plague and cholera". The distrust of Kazan by the left and the partial rejection by the Hollywood community was to last until his death.

Marlon Brando was certainly the first and, for Kazan, the most important young actor to become a world star under his guidance. Other acting discoveries were to follow in the years to come. In 1954, he worked with author John Steinbeck to find an actor for the role of young Cal in East of Eden (Elia Kazan, 1955) who was in a generational conflict with his father, typical of the 1950s, and found him in James Dean. Kazan thus established the world fame of the teenage idol par excellence. Dean lived out the conflict with his father, played by Raymond Massey, to the full during filming. Their scenes together are marked by the enmity of the two actors on the set. Dean never learned his lines and improvised the arguments with the father, which almost drove the perfectly prepared actor Massey mad. Kazan took advantage of this and never interrupted when Dean spoke a completely different line from what was in the script. These scenes thus achieved an enormous authenticity. East of Eden was the only film with James Dean that premiered during the young actor's lifetime. Alongside Dean, Julie Harris also played her first major role in a film. With Baby Doll (Elia Kazan, 1956) Kazan went back to the southern states of the United States and ensured the breakthrough of the leading actress Carroll Baker. Baby Doll developed into one of the biggest scandals of the prudish 1950s. Karl Malden, already one of Kazan's most important and loyal actors since Kazan's theatre successes of the 1940s, is seen here in a leading role after numerous supporting roles. He plays the clueless Archie Lee, who marries the underage Baby Doll and promises not to have sexual intercourse with her until she is 19. The provocative film was vehemently attacked, especially from church circles. In an interview, Kazan described Karl Malden and Eli Wallach, who both star in Baby Doll, as his most important discoveries: "They're rather unimpressive guys, but they've almost perfected method acting." Kazan stayed in the South and his next film A Face in the Crowd (Elia Kazan, 1957) criticised the influence of the fledgling medium of television in shaping the political opinions of American citizens. Andy Griffith played Lonesome Rhodes, who rises from a provincial local hero to a national star through television. The film already shows what has become commonplace: television as a manipulator of the masses. A man of limited intellect gains political power through his charm and popularity. Griffith himself later became a popular TV star. Kazan discovered the young actress Lee Remick for this film, who made her cinema debut just like Griffith. Lee Remick was then also given a leading role in Kazan's next film Wild River (Elia Kazan, 1960). She plays the wife of Montgomery Clift, who is sent to Alabama in the 1930s to buy up the land needed by the Depression-ravaged people so that a river can be diverted. An old woman fights back most fiercely. This woman is played by Jo Van Fleet, who was only half her character's age in 1960 when the film was made.

In 1961 Elia Kazan filmed a story by William Inge, who also wrote the screenplay for Splendor in the Grass (Elia Kazan, 1961). In this film, Natalie Wood falls in love with the son of the most important family in a small Kansas town, but they will never have the chance to get together. The boy is played by another of Kazan's discoveries, who subsequently embarks on a world career: Warren Beatty. In 1963 Kazan made a film he had already been working on for over 30 years. America, America (Elia Kazan, 1963) is the story of his uncle and his family. After great difficulties with financing, he was able to realise the film about his Greek ancestors and their way to America with Warner Brothers. The main role was played by the amateur actor Stathis Giallelis, who first had to come to the United States for months to learn English. While working on this film, Kazan's first wife died. In 1967, he married the actress Barbara Loden, who had appeared in his films Wild River and Splendor in the Grass. They had one child together. It became increasingly difficult for him to finance his film projects. He made only three more films. The Arrangement (Elia Kazan, 1969) was based on Kazan's novel of the same name and starred Kirk Douglas and Faye Dunaway. Then he made The Visitors (Elia Kazan, 1972). His final film was The Last Tycoon (Elia Kazan, 1976), a major production starring Robert De Niro and Jack Nicholson. It is a rather atypical Kazan film, based on the novel of the same name by F. Scott Fitzgerald. The cast also included stars such as Tony Curtis, Robert Mitchum, Jeanne Moreau, Donald Pleasence, Ray Milland, Dana Andrews and John Carradine. Despite the huge effort, the film was not a box-office success and Kazan left the director's chair. Kazan wrote seven novels and his autobiography. In 1980 Elia Kazan's second wife Barbara Loden died of cancer. A widower twice over, Kazan married a third time in 1982. He lived with his third wife Frances Rudge until his death. In 1988, Kazan was the director of the 7th Istanbul Film Festival. Since the 1970s, he has spent a lot of time in his old homeland. He connected with the Turkish musician, author and filmmaker Zülfü Livaneli, in whose film Sis he also had a small guest role. He also had a close friendship with the Turkish actor and director Yılmaz Güney and visited Güney in Toptaşı Prison in Istanbul in 1978. As a result, Kazan published an article "The View from a Turkish Prison" for the New York Times, in which he reported on the meeting with Güney and the conditions in the prison. In 1999, Kazan received an honorary Oscar for his entire career from the hands of Robert De Niro. Although many in Hollywood felt that enough time had passed to finally bury the hatchet and it was time to recognise his great artistic achievements, there was still much debate over this decision. Footage from the Oscar ceremony in question shows that only three-quarters of those present took part in the standing ovation. In 2003, Elia Kazan died at the age of 94 in Manhattan, New York City. Children from his first marriage were writer-producer Chris Kazan (1938–1991) and screenwriter Nicholas Kazan (1950), who is married to director and screenwriter Robin Swicord. Their daughter Zoe Kazan, Elia Kazan's granddaughter, is an actress. Another granddaughter is actress-writer-director Maya Kazan. Martin Scorsese co-directed the documentary film A Letter to Elia (Kent Jones, Martin Scorsese, 2010) as a personal tribute to Kazan.

Sources: Henry Willis (IMDb), Wikipedia (Dutch and German), and IMDb.

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Swiss-British-German postcard by News Productions, Baulmes and Stroud / Filmwelt Berlin, Bakede, no. 56569, 1994. Photo: Larry Shaw. Caption: John Cassavetes and John Huston, Pinewood Studios, England, 1967.

American actor and filmmaker John Cassavetes (1929-1989) was one of the first directors whose films were made independently of Hollywood studios. His directorial debut was Shadows (1959) was a high point in the development of American independent film. Like many of his films, Shadows is characterised by a cinéma vérité style, with improvised dialogues and raw camera work. In 1968, he received an Oscar nomination in the category Best Screenplay for Faces. His best-known film is probably A Woman Under the Influence (1974), in which his wife Gena Rowlands plays a mother with declining mental health. Cassavetes received an Oscar nomination for directing, and Rowlands a nomination for best actress.

American director, screenwriter and actor John Huston (1906-1987) was the son of actor Walter Huston. He became a director himself and made his debut with The Maltese Falcon (1941) starring Humphrey Bogart. With such films as Key Largo (1948) and The Asphalt Jungle (1950), he became one of the decisive factors in the popularity of Film Noir. His other classics include The Treasure of the Sierra Madre (1948), The African Queen (1951), Moby Dick (1956), The Misfits (1961), Fat City (1972), The Man Who Would Be King (1975) and Prizzi's Honor (1985). He is the father of Anjelica Huston and Danny Huston.

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